South, Sertão and Flowers: An imperative propaedeutic for understanding contemporary artistic manifestations of the Global South
Autor(a) principal: | |
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Data de Publicação: | 2022 |
Tipo de documento: | Artigo |
Idioma: | por |
Título da fonte: | Anos 90 (Online) |
Texto Completo: | https://seer.ufrgs.br/index.php/anos90/article/view/120373 |
Resumo: | In this article, we propose an approach to the feminejo group entitled Fulô do Sertão from Teresina, in the state of Piauí, Brazil. This group was chosen with the intention of praising music as a weapon and as a form of resistance/existence in the Global South. Thus, considering the perspective of imagined worlds and technologies of the self, we argue that the artistic productions of Fulô do Sertão are, in fact, responsible for engendering new musical-symbolic epistemologies in the Global South. The approach adopted here focuses on two central analytical pillars: (1) the need to introduce into current music scenes experiences that have contributed to artistic and cultural diversity, despite having been largely sidelined and/or omitted by the Anglo-American way of thinking; (2) to analyze innovative cultural experiences that involve a sustained study of social groups that are largely omitted, namely women, as well as an understanding of the reality of the South, marked by a new capitalism based on socio-economic insecurity and precariousness. Therefore, by observing this case study, we are faced not only with the possibility of outlining decolonial music scenes, but also with the possibility of overcoming the colonial genre. |
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South, Sertão and Flowers: An imperative propaedeutic for understanding contemporary artistic manifestations of the Global SouthSul, Sertão e Flores: uma propedêutica necessária para compreender as manifestações artísticas contemporâneas do Sul GlobalBrasilFeminejoIdentidades DecolonaisGéneroResistênciaIn this article, we propose an approach to the feminejo group entitled Fulô do Sertão from Teresina, in the state of Piauí, Brazil. This group was chosen with the intention of praising music as a weapon and as a form of resistance/existence in the Global South. Thus, considering the perspective of imagined worlds and technologies of the self, we argue that the artistic productions of Fulô do Sertão are, in fact, responsible for engendering new musical-symbolic epistemologies in the Global South. The approach adopted here focuses on two central analytical pillars: (1) the need to introduce into current music scenes experiences that have contributed to artistic and cultural diversity, despite having been largely sidelined and/or omitted by the Anglo-American way of thinking; (2) to analyze innovative cultural experiences that involve a sustained study of social groups that are largely omitted, namely women, as well as an understanding of the reality of the South, marked by a new capitalism based on socio-economic insecurity and precariousness. Therefore, by observing this case study, we are faced not only with the possibility of outlining decolonial music scenes, but also with the possibility of overcoming the colonial genre.Neste artigo propomos uma abordagem ao grupo de feminejo intitulado Fulô do Sertão procedente de Teresina, Estado do Piauí, Brasil. Esse grupo foi escolhido com o intuito de enaltecer a música como uma arma de resistência/existência no Sul Global. Assim, considerando a perspetiva dos mundos imaginados e das tecnologias do self, defendemos que as produções artísticas das Fulô do Sertão são, na verdade, responsáveis por engendrarem novas epistemologias músico-simbólicas no Sul Global. A abordagem aqui adotada centra-se em dois pilares analíticos fundamentais: (1) a necessidade de introduzir nas cenas musicais atuais experiências que contribuíram para a diversidade artística e cultural, não obstante terem sido largamente secundarizadas e/ou omitidas pelo modo de pensar anglo-americano; (2) analisar experiências culturais inovadoras que envolvem um estudo sustentado de grupos sociais que são largamente omitidos, nomeadamente as mulheres, bem como uma compreensão da realidade do Sul, marcada por um novo capitalismo baseado na insegurança e precariedade socioeconómica. Portanto, observando este caso de estudo, ficamos perante não só a possibilidade de delinear cenas musicais decoloniais, como similarmente de fazer assomar a superação do género colonial.UFRGS2022-12-30info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://seer.ufrgs.br/index.php/anos90/article/view/12037310.22456/1983-201X.120373Anos 90; Vol. 29 (2022); 1-15Anos 90; v. 29 (2022); 1-151983-201X0104-236Xreponame:Anos 90 (Online)instname:Universidade Federal do Rio Grande do Sul (UFRGS)instacron:UFRGS-30porhttps://seer.ufrgs.br/index.php/anos90/article/view/120373/87786Copyright (c) 2022 Anos 90info:eu-repo/semantics/openAccessGuerra, Paula2023-08-14T23:18:28Zoai:seer.ufrgs.br:article/120373Revistahttps://seer.ufrgs.br/anos90PUBhttps://seer.ufrgs.br/anos90/oaianos90@ufrgs.br||1983-201X0104-236Xopendoar:2023-08-14T23:18:28Anos 90 (Online) - Universidade Federal do Rio Grande do Sul (UFRGS)false |
dc.title.none.fl_str_mv |
South, Sertão and Flowers: An imperative propaedeutic for understanding contemporary artistic manifestations of the Global South Sul, Sertão e Flores: uma propedêutica necessária para compreender as manifestações artísticas contemporâneas do Sul Global |
title |
South, Sertão and Flowers: An imperative propaedeutic for understanding contemporary artistic manifestations of the Global South |
spellingShingle |
South, Sertão and Flowers: An imperative propaedeutic for understanding contemporary artistic manifestations of the Global South Guerra, Paula Brasil Feminejo Identidades Decolonais Género Resistência |
title_short |
South, Sertão and Flowers: An imperative propaedeutic for understanding contemporary artistic manifestations of the Global South |
title_full |
South, Sertão and Flowers: An imperative propaedeutic for understanding contemporary artistic manifestations of the Global South |
title_fullStr |
South, Sertão and Flowers: An imperative propaedeutic for understanding contemporary artistic manifestations of the Global South |
title_full_unstemmed |
South, Sertão and Flowers: An imperative propaedeutic for understanding contemporary artistic manifestations of the Global South |
title_sort |
South, Sertão and Flowers: An imperative propaedeutic for understanding contemporary artistic manifestations of the Global South |
author |
Guerra, Paula |
author_facet |
Guerra, Paula |
author_role |
author |
dc.contributor.author.fl_str_mv |
Guerra, Paula |
dc.subject.por.fl_str_mv |
Brasil Feminejo Identidades Decolonais Género Resistência |
topic |
Brasil Feminejo Identidades Decolonais Género Resistência |
description |
In this article, we propose an approach to the feminejo group entitled Fulô do Sertão from Teresina, in the state of Piauí, Brazil. This group was chosen with the intention of praising music as a weapon and as a form of resistance/existence in the Global South. Thus, considering the perspective of imagined worlds and technologies of the self, we argue that the artistic productions of Fulô do Sertão are, in fact, responsible for engendering new musical-symbolic epistemologies in the Global South. The approach adopted here focuses on two central analytical pillars: (1) the need to introduce into current music scenes experiences that have contributed to artistic and cultural diversity, despite having been largely sidelined and/or omitted by the Anglo-American way of thinking; (2) to analyze innovative cultural experiences that involve a sustained study of social groups that are largely omitted, namely women, as well as an understanding of the reality of the South, marked by a new capitalism based on socio-economic insecurity and precariousness. Therefore, by observing this case study, we are faced not only with the possibility of outlining decolonial music scenes, but also with the possibility of overcoming the colonial genre. |
publishDate |
2022 |
dc.date.none.fl_str_mv |
2022-12-30 |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://seer.ufrgs.br/index.php/anos90/article/view/120373 10.22456/1983-201X.120373 |
url |
https://seer.ufrgs.br/index.php/anos90/article/view/120373 |
identifier_str_mv |
10.22456/1983-201X.120373 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.none.fl_str_mv |
https://seer.ufrgs.br/index.php/anos90/article/view/120373/87786 |
dc.rights.driver.fl_str_mv |
Copyright (c) 2022 Anos 90 info:eu-repo/semantics/openAccess |
rights_invalid_str_mv |
Copyright (c) 2022 Anos 90 |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
UFRGS |
publisher.none.fl_str_mv |
UFRGS |
dc.source.none.fl_str_mv |
Anos 90; Vol. 29 (2022); 1-15 Anos 90; v. 29 (2022); 1-15 1983-201X 0104-236X reponame:Anos 90 (Online) instname:Universidade Federal do Rio Grande do Sul (UFRGS) instacron:UFRGS-30 |
instname_str |
Universidade Federal do Rio Grande do Sul (UFRGS) |
instacron_str |
UFRGS-30 |
institution |
UFRGS-30 |
reponame_str |
Anos 90 (Online) |
collection |
Anos 90 (Online) |
repository.name.fl_str_mv |
Anos 90 (Online) - Universidade Federal do Rio Grande do Sul (UFRGS) |
repository.mail.fl_str_mv |
anos90@ufrgs.br|| |
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1797067838333124608 |